The Saints – Long March Through The Jazz Age (Fire) (13th Floor Album Review)
This posthumous release by Chris Bailey’s The Saints, was seven years in the making, started in 2018, but not completed until three years after his death.
Mostly laid down in Sydney by Bailey and his long term (since 1999) Saints & solo drummer Pete Wilkinson, the album also features contributions from past band member Sean Carey, guest guitarist Davey Lane (You Am I) and a stream of Sydney keys and horn specialists.
Long March Through the Jazz Age, a longtime coming, spans 12 songs, from the outside, there is an Ides of March theme, as Bailey reflects on past, present (and perhaps) future, dwelling on founderings and triumphs, singing emphatic words (something he was always a master of), in his trademark, gravelled and still anthemic voice. Compositionally, the album spans across elements, elements of largesse blues, rock, Latin strings and brass, folk and occasional harmonic pop.
The advance single(s) from the album, Gasoline/Judas were snapshot in time, both hectic, catchily riffed, lyrically infectious. Gasoline in particular is a paced-punk reflection on populist politicians, possibly. Possibly, neither truly foretold what was coming.
Long March Through the Jazz Age is an album steeped in reflection. From the start, Empires (Sometimes We Fall), Bailey is troubled, mildly apprehensive for the future (given the world’s past) Viking and Imaginary Fields Forever are two quite different compositions. Viking is a meandering, emotional keyboard heavy, and at times vocally strenuous, fearful of the end (of the World) whilst Imaginary Fields Forever, is melodic, finessed guitar driven, splendored in rich post-punk harmonies, possibly bewitched in anticipation of the next life.
With Bailey likely not having the final say on the selection and sequencing of Long March Through the Jazz Age I wonder if he would have signed off on the final trio of songs.
As they create a wistful ending, forlorn and sombre. Resurrection Day (in all its imperfections), funerealist Carnivore (Long March Through the Jazz Age)with its heart-string pulling trumpet, and the mariachi horned I’ll You Still Be There, bringing the album to a decline. But maybe, Bailey’s partners in crime, hopped to evoke a glass raising emotion amongst his fans.
Simon Coffey
Long March Through the Jazz Age is out now on Fire Records
